The recent solo exhibition in Berlin dedicated to Dimash Qudaibergen raised more than 1,000 euros for the Kazakh “Sabi” Foundation. DimashNews speaks with Karin Betz — the artist who presented to the public her inspiration drawn from Dimash’s music in the form of delicate and heartfelt works of visual art.

Tell us a little about yourself: where are you from, what does your everyday life look like, and how did your artistic journey begin?

I grew up in Germany and Canada, studied at Queen’s University in Kingston, Ontario (Canada), where I obtained a Bachelor of Fine Arts (painting, sculpture, and printmaking).

I worked in a gallery in Vancouver, and after returning to Europe, I trained as a graphic designer. I paint in my free time and only accept private commissions; professionally, I work as a graphic designer and illustrator. Although during my studies I focused on abstract painting, landscapes, and figurative work, in recent years I’ve become deeply interested in portrait painting.

There are many artists who paint Dimash—I won’t claim that I paint him particularly well—but I’ve painted him a lot, trying to capture his unique beauty and incredible energy.

How did you discover Dimash’s music and work?

My husband is a music producer, and one day a friend visited us and asked him for his opinion on Dimash, playing three of his songs on YouTube. I instantly fell in love with that incredible voice and have been listening to his music for four years now. I’ve always loved all genres of music—from classical to punk rock and pop; I love jazz, tango, fado, chanson, Celtic music, and Asian music. Such a mix drove people around me crazy.

When I first heard Dimash, I was stunned that one voice could cover all my favorite styles. His music is never just background noise to me—I have to truly listen when it’s playing, which I can do while painting, and it completely absorbs me. His genius is revealed in compositions that sound equally beautiful in instrumental piano or orchestral versions; his musicality is simply breathtaking. I hope he finds time to gift us many more compositions and songs.

How would you describe your artistic philosophy? What is most important to you in art?

If you walk through one of the major European art fairs today, you’ll see a huge shift toward naturalistic art. It no longer has to be loud, shocking, strange, or disturbing—subtlety is welcome again. Melancholy is okay; quiet compositions, muted colors.

Dimash’s face or silhouette is so expressive that nothing more is needed. Usually, I edit and simplify the background to a minimal landscape or blocks of light and color in order to focus on the mood. I’m not afraid to paint beauty, because beneath it there is always something deeper that somehow reaches viewers. Everyone brings their own story with them, and I am more than grateful for the emotional reactions to the exhibition. Thank you.

How long did you prepare for the JYLDYZ exhibition, and how did the idea come about?

The idea emerged after the concert in Berlin was announced and after I found an exhibition space so close to the concert venue. When else would I have a chance to gather an interested audience in one place where I could simply bring my works? It seemed like a unique opportunity and coincidence—the room was large enough to display most of my paintings and was available that week. Everything just fell into place.

What challenges did you face on the way to your first major exhibition, and what helped you overcome them?

Honestly, I didn’t think of it as “my” exhibition—more like a good opportunity to reflect on Dimash’s influence, his hard work and dedication, and to thank him for that. After all, he may not like being constantly painted and photographed…

Photographers and videographers who create inspiring images gain nothing financially and often aren’t even known, and there are so many fantastic, talented Dears who draw and paint just for practice. So the exhibition was more about presenting the inspiration I received from Dimash and hoping the work would serve a good cause and help raise donations.

I faced many challenges: I didn’t know if the investment would pay off, if the works would fit the space, or if visitors would come. I constantly doubted everything and could not have done it without the unwavering support and encouragement of my friends.

Please tell us about the concept of JULDYZ. What emotions do you feel after its completion?

Dimash says: “I am not a star; the stars are in the sky.” The painting that gave the exhibition its title, JULDYZ, reflects impressions of a surreal starry night and the image of a “star” on stage under unusual lighting conditions. In the context of the other works presented, it raises questions such as: what does it mean to be in the spotlight, to be seen as a cultural ambassador on an international stage and a national treasure? How does one meet expectations and stay focused and grounded amid praise, admiration, and predictions? It is a reflection on many facets of this extraordinary artist, and there are still hundreds of moments I would love to depict. Now I may well be inspired to continue… because even “non-Dears” reacted strongly to this work.

When I announced I would donate 50% of the proceeds, I was nervous about whether I would earn anything at all, so thank you to everyone who purchased my works. It was an unexpected success, and the coverage in the Kazakh press and the publication in DimashNews were a tremendous honor for such a small exhibition. Thank you very much.

What inspires you in everyday life besides Dimash’s music?

Nature has always been my main source of inspiration—nature and art. My mother often took me to exhibitions of German and Scandinavian landscape painters; in Canada, I discovered the “Group of Seven,” and I see landscapes and the magic of nature in everything. I’m usually happiest when walking alone by the seaside or in the forest. Or when I’m painting. Another source of inspiration is my wonderful husband and son. There is so much love and beauty in this world.

Do you plan to hold new exhibitions in the future—perhaps a continuation of JYLDYZ or something entirely new?

Of course, I would love to continue. I just need to find the time and resources. Paintings always look different in real life than on social media—size, texture, colors… some paintings look better in photos, but most look worse. Like any creative person, I prefer creating over presenting. I’m more of an introvert, and overcoming that was difficult. In this context (or as two years ago, when I participated in an event devoted to the significance of Kazakh ornaments), it is easier for me to talk about my work. I know I will always draw, paint, and create—I’m just not sure whether I will always show my work.

How are you developing as an artist now? Are you exploring new techniques, directions, or collaboration opportunities?

I’ve already received inquiries about collaborations—I would be very happy and open to any proposals and always welcome them.

Visitors asked about Kazakhstan and why this culture attracts me so much. I was touched by their interest and the exchange of ideas. Of course, I also plan other subjects—more abstract and landscape paintings. While preparing for this exhibition, I thought it might mark a kind of endpoint for me in painting Dimash, a sort of completion. But I’ve thought that before, and every concert (this was my seventh) or every new song makes me start a new portrait somehow.

His music is an endless source of inspiration for me, so we’ll see.
From a technical standpoint, I work with other materials and themes, but I wanted the exhibition to be harmonious, so I limited the works to traditional oil painting and pencil drawing. The only exception was a set of cards for the new Kazakh Latin alphabet—a joint project for which I did the illustrations and graphic design. I included it in the exhibition to offer a useful product for language learners, and it was very well received.

What is your creative dream? What would you like to achieve in the future?
I still don’t have much time for painting, as I’m a mother and a freelance graphic designer. I have to choose what to paint, and I can never devote as much time to one painting as I would like. Some paintings come together in one night, while others take a long time. My personal goal is to work harder so I can bring my ideas to life more quickly.